It makes the whole process smoother and more enjoyable. Everything you need from clefs to accidentals, bowing marks to slurs and ties, is visible on one screen rather than having to open various new windows and menus. The interface is clear and user-friendly. Depending on your ensemble, your violinist could pick up the maracas and then perform saxophone solo, if that’s what you want! The point is, Dorico is designed to allow complete musical freedom from the outset. We’re already thinking in terms of actual humans playing instruments which will encourage more musical outcomes – the oboist can switch to cor anglais, with all the music on one part. Rather than having to make lots of compositional decisions at this early stage, Dorico simply asks you to choose players and then assign instruments to those players. Getting startedĪfter installing the software I began the process of setting up a new piece. However, was it worth the time it would take to learn this new software when I can practically use Sibelius with my eyes closed and generally get the results I want? I decided to take the plunge.
Sibelius doesn’t look too kindly on composers who change their minds and want to write something a bit out of the ordinary. So, why bother? I wondered whether there was a programme more efficient than Sibelius, where I wouldn’t be pressing the ‘escape’ key every other second and wouldn’t have to restart a whole piece if I had changed my mind and did want an upbeat at the start after all. After 20 years of using Sibelius – as a GCSE music pupil myself (it was revolutionary back then!) and than as a teacher, there was an inner reluctance to make the change.
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